Friday, November 21, 1980

“If you need proof why arena rock was giant, this is it.” STE REO Speedwagon could arguably be credited with bringing arena rock to its pinnacle. They “had been slogging it out in the arenas of the U.S.” STE for nearly a decade, “building up a sizeable audience because they could deliver live.” STE This was much the same story for the band’s peers like Styx, Journey, and Foreigner. The difference is that all those bands had landed a couple top ten albums. The highest REO ever previously reached was #29.

Then, in 1981, all four bands topped the album charts. However, REO got their first “with this incredibly mainstream collection of power ballads and economic hard rock.” RO They did it with a fifteen-week chart-topper which sold more than 9 million copies in the U.S. This was “a record that not just summarized their strengths, but captured everything that was good about arena rock. This is the sound of the stadiums in that netherworld between giants like Zeppelin and MTV’s slick, video-ready anthems.” STE

“The band’s strongest attribute is its inconspicuous nature. You never see it coming. Kevin Cronin has a serviceable voice and Gary Richrath is a solid if unspectacular lead player” RO “but there’s a real urgency to the songs and the performances.” STEKeep on Loving You set “the pattern for the power ballads that would take many a hard rock band to the top of the charts throughout the ‘80s.” RO That song “and the surging Take It on the Run…define their era.” STE There’s also “the Bo Diddley-inspired opener, Don’t Let Him Go” STE and other radio-friendly songs like “the sun-kissed ‘60s homage In Your Letter, and Tough Guys.” STE

“What’s really great about these songs is not just the sheen of professionalism that makes them addictive to listen to, but there’s a real strain of pathos that runs through these songs – the album’s title isn't just a clever pun, but a description of the tortured romantic relationships that populate this record’s songs. This is really arena rock’s Blood on the Tracks, albeit by a group of guys instead of a singular vision, but that makes it more affecting, as well as a killer slice of ear candy.” STE

Saturday, November 15, 1980

In 1980, Kenny Rogers was the biggest draw in country music. To capitalize on his status – and a year which had already seen three top five hits on the country charts – his record label wanted a Greatest Hits package to ring in the Christmas season. Rogers had just ended his five-year relationship with producer Larry Butler and was seeking new blood to spark his creativity.

He turned to Lionel Richie, who wasn’t yet the solo superstar he was to become within a few years. At the time, he still fronted the Motown group The Commodores. Like Rogers, Richie had experienced major crossover success. The 1978 hit “Three Times a Lady” had topped the pop, R&B, adult contemporary, and UK charts. The country-tinged “Easy” (1977) was a hit on all four formats as well.

The pair of songs caught Rogers’ attention. Rogers contacted Motown founder Berry Gordy about working with the Commodores. Because of a motorcycle accident to drummer Walter Orange, the group had delayed a concert tour and Richie and Co. had time on their hands. Lionel flew to Las Vegas to meet with Rogers. Richie played demos of “Lady” and “Goin’ Back to Alabama”, songs he’d written two years earlier. BR1 Rogers cut both in an 8 ½ hour session; the former included some lyrical tweaking to reference Rogers’ relationship with his wife. TR As Rogers said, “The idea was that Lionel would come from R&B and I’d come from country, and we’d meet somewhere in the middle.” BR1

The song became Rogers’ fourth million-selling single and his first #1 on the pop charts. BB100 It was also the biggest pop song of 1980 WHC and the first song of the decade to hit all four of the major Billboard charts (pop, country, adult contemporary, R&B). BR1 It hit #1 on the first three of those.